Temat: Krzysztof Penderecki - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Muzyka sakralna na chór a cappella Krzysztofa Pendereckiego
Autorzy:: Chłopicka, Regina
Powiązania:: https://bibliotekanauki.pl/articles/668979.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:: Krzysztof Penderecki
utwory na chór a cappella
muzyka XX / XXI wieku
Opis:: Penderecki’s a cappella works have been written over the span of over 50 years since 1958, when the psalm Exaltabo Te Domine from the Psalms of David was composed, followed by the Stabat Mater sequence from St Luke Passion (1962), the multiple movement Missa brevis, intended for a cappella choir in its entirety, being the most recent work in the series (its first performance took place in January 2013). A cappella compositions form distinct movements within the large vocal-instrumental works or they are written as independent pieces, usually dedicated to friends or connected with specific events. Even though the works came into being in different periods and they were often written in different musical languages, they do constitute a group of works which is relatively uniform from the point of view of general style. The article aims at discussing on the one hand the chronology, text sources and a type of musical language used in a cappella works, on the other the general features of style and ways of developing musical narration by the composer.
Penderecki’s a cappella works have been written over the span of over 50 years since 1958, when the psalm Exaltabo Te Domine from the Psalms of David was composed, followed by the Stabat Mater sequence from St Luke Passion (1962), the multiple movement Missa brevis, intended for a cappella choir in its entirety, being the most recent work in the series (its first performance took place in January 2013). A cappella compositions form distinct movements within the large vocal-instrumental works or they are written as independent pieces, usually dedicated to friends or connected with specific events. Even though the works came into being in different periods and they were often written in different musical languages, they do constitute a group of works which is relatively uniform from the point of view of general style. The article aims at discussing on the one hand the chronology, text sources and a type of musical language used in a cappella works, on the other the general features of style and ways of developing musical narration by the composer.
Źródło:: Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:: Pro Musica Sacra
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Penderecki między sacrum a profanum
Autorzy:: Tomaszewski, Mieczysław
Powiązania:: https://bibliotekanauki.pl/articles/668989.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:: Krzysztof Penderecki
modern European music
music of 20th c.
współczesna muzyka europejska
muzyka XX wieku
Opis:: Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.
Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.
Źródło:: Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:: Pro Musica Sacra
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Ogród - miejsce spełnienia i schronienia artystów
Autorzy:: Hubeny-Żukowska, Agnieszka
Powiązania:: https://bibliotekanauki.pl/articles/1811410.pdf
Data publikacji:: 2021-06-13
Wydawca:: Akademia Sztuk Pięknych im. Jana Matejki w Krakowie
Tematy:: ogród
ogrody
sztuka ogrodowa
Claude Monet
Frida Kahlo
Józef Mehoffer
Krzysztof Penderecki
piąty pokój
COVID-19
Opis:: Są na świecie miejsca, które swym pięknem i atmosferą potrafią przenieść widza/uczestnika w inny wymiar. Są ludzie niezwykli, którzy potrafią stworzyć takie przestrzenie wokół swoich domów. Magia ogrodu uczynionego z pasji, miłości, pragnienia zobrazowania filozofii, z chęci zapomnienia lub ucieczki przed rzeczywistością sprawia, że stają się one kapsułami wyodrębnionymi z czasu i przestrzeni. Co łączy Claude’a Moneta, Fridę Kahlo, epidemię cholery i grypy oraz COVID-19? Jak myśl projektowa i przestrzeń ogrodu, miejsca ekspresji, zmieniają się pod wpływem różnych zdarzeń i emocji? Czy w rzeczywistości postpandemicznej ogród może stać się piątym pokojem, nawiązującym do wcześniejszych salonów i gabinetów ogrodowych – współczesnym, bezpiecznym miejscem pracy, samorealizacji, wypoczynku oraz bytowania z przyrodą i pięknem?
Źródło:: inAW Journal – Multidisciplinary Academic Magazine; 2021, 2, 1; 6-18
2719-7816
Pojawia się w:: inAW Journal – Multidisciplinary Academic Magazine
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Krzysztof Penderecki’s Eighth Symphony, ‘Lieder der Vergänglichkeit’ - from inspiration by nature to existential reflection
Autorzy:: Chłopicka, Regina
Powiązania:: https://bibliotekanauki.pl/articles/780299.pdf
Data publikacji:: 2009
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: nature inspirations in music
symphony genre
20th century music
Polish music
Eighth Symphony by Krzysztof Penderecki
word-tone relations
Opis:: In the Penderecki oeuvre, symphonic music has been pivotal, with eight symphonies written over the span of forty years, including Symphony No. 6, which remains in the sketch stage. As he admits, the sequence of symphonies constitutes a sort of musical autobiography. In the life and work of Penderecki his interests in nature and culture have long run parallel, and in both spheres the moment of creation has been particularly significant. Penderecki’s artistic work has clearly focused on two domains: composing music and moulding the nature which surrounds his Luslawice house - the space of the garden and park. The latter type of art concerns nature not in its primeval form, but rather in the shape imposed on it by man. Over the last decade, the composer’s two passions have tended to drift closer together and intertwine. During this time, he has written his Eighth Symphony (‘Lieder der Vergänglichkeit’), devoted to trees, and Three Chinese Songs, permeated by his enchantment with the beauty of nature. In his Eighth Symphony, Penderecki employs poetic and musical images to show the beauty and diversity of the forms of the surrounding world of nature, in which it is given to man to live the successive phases of his life. However, a relevant dimension of the symphony is that of looking from a distance at the fate of man - the existential reflection offered mainly by the commenting choral parts, as in ancient tragedy. What dominates is a sense of transition, the sadness of decline and the thought of the inevitability of the fate of man, who searches for a way to unravel the mystery of existence.
Źródło:: Interdisciplinary Studies in Musicology; 2009, 8; 189-202
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Libretto w przestrzeni kultury — o relacjach międzytekstowych na przykładzie Diabłów z Loudun Krzysztofa Pendereckiego
Libretto in the Sphere of Culture — Intetextual Relations in The Devils of Loudun by Krzysztof Penderecki
Autorzy:: Kotłowska, Beata
Powiązania:: https://bibliotekanauki.pl/articles/521891.pdf
Data publikacji:: 2011
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:: Penderecki Krzysztof
opera
libretto
intertextuality
integral interpretation
The Devils of Loudun
Opis:: An opera libretto can be thought of as another text in the area of interpersonal communication, which enters into relations with other texts — not only literary works, but also cultural texts in a broader sense. The taking into account of relations between genre of interest here and others that are parallel with it in terms of construction, expressivity, and subject matter, leads to one of the descriptive categories of 20th century literature: intertextuality, often referred to in musicological research, especially by those who use the method of integral interpretation. The aim of the present article is to place the libretto of The Devils of Loudun by Krzysztof Penderecki in a cultural context. First, literary texts have been analysed (J. Michelet, La Sorcière, J. Iwaszkiewicz, Matka Joanna od Aniołów, A. Huxley, The Devils of Loudun, J. Whiting, The Devils), and also other cultural texts (philosophical works by Leszek Kołakowski, and fi lms). Penderecki adds his own vocal-instrumental version of the events in Loudun. Being aware of the range of the subject, its literary tradition and roots in the European culture, the composer introduces modifi cations and retouches to Whiting’s play that are crucial for the autonomy of the libretto — a peculiar text, by means of which he takes up a dialog with texts not only from the past, but also from the present. His capacious form of the libretto, as well as the musical and staging concepts, not only seem to be an invitation to make a great effort to concretize that which is proposed within the work, but also a challenge to the contemporary audience.
Źródło:: Aspekty Muzyki; 2011, 1; 83-100
2082-6044
Pojawia się w:: Aspekty Muzyki
Dostawca treści:: Biblioteka Nauki